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Hi everyone just a quick question: I dont have enough money to fully set up a surround sound workstation so currently I am making do with my two genelecs and headphones, So I have been looking into Waves NX and also Flux Ircam HEar v3 as a way to send out rough 5.1 mixes, just using headphones, has anybody had experience with either one and if so is it good enough to mix thoroughly or is it only a good guide, I would like to know which is best and if there are any other plugins I should be aware of as well. Thanks.

Hello everybody, So the time has come to upgrade my studio (I have the Yamaha HS series monitors set up in a 5.1 config) and my budget is about 1k a speaker. I've been listening to the Dynaudio BM6 MK III's and they seem pretty solid. They appear to have a pretty flat frequency response. These, paired with the BM14S II 12"Subwoofer, I'm thinking this would be a pretty good mixing environment. While, others are mixing on Genelecs, and still others, I see, are using the Focal 6B series monitors, et all, the BM6 MK IIIs appear to be decent performers (I really can't afford the Dynaudio AIR series which have the sculptable EQ for each speaker which is pretty friggin' tantalizing). Are there other choices in this price range? At the end of the day, good flat, frequency response and translation to the screen is what I'm looking for. Thanks for your input! John

Hi all,I wanted to share a new mixing plug-in we've created for the post production world! It's called RX Final Mix, includes an EQ with both Static and Dynamic functionality and a 7.1 surround True Peak Limiter and runs right within your NLE or DAW as an AAX, RTAS, AU or VST plug-in.RX Final Mix is designed to be utilized on your stem tracks, and your master bus if desired! The limiter is designed to be transparent: it analyzes the incoming source material and uses a psycho-acoustically pleasing algorithm that reacts quickly to transients and reacts more slowly to lower frequency and steady tones; it is optimized to preserve transients and present them in a sharp, clear way, even when aggressive limiting is being applied. The Dynamic EQ is designed to help carve out space for important things like dialogue, as well as add impact and power to effects, music, etc. Each EQ node can be set to either Dynamic or Static, and in Dynamic mode, the EQ responds and adapts to the incoming audio signal so that it only touches your audio when it needs to; transparency is key here! The shape and depth of the EQ curve will change and adapt in response to the audio it’s adjusting so that it can respond differently to, for example, a gunshot, dialogue ess reduction, and an LFE burst.To see how RX Final Mix can help you craft better sounding mixes, download the free 10 day trial: https://www.izotope.com/en/products/pos ... final-mix/Let me know if you have any questions!Best,-Evan

Hello all,
I've been learning a lot since finally finding this site - even bought a great shotgun mic earlier today from a member on the board and I even learned to use my real name!!
Anyway - I hope to get slightly beaten around - but can someone tell me what you are mixing? And by that I mean - we have these great recorders that record iso tracks, we even have wireless that can record their own iso tracks - so with all the outboard mixers I'm seeing on your carts - and 788/664 add on units --- why?
Is the goal for you to create the best two track mix for them to use in post and they'll only go to the iso tracks if needed? Is it just for the hop or IFB feeds - so everyone is getting the best possible sound in their ears?
I guess since I am usually a one man band- booming while wearing my mixer I can do my gain adjustments but don't always concentrate on what the L/R mix sounds like.
Thank you to Jeff and to all of you for this incredible resource - and I can't wait to learn and improve through osmosis!

Howdy Gents,
So I'm potentially going off in April to Brazil to shoot part of a documentary and I was thinking I'd like to grab a bunch of surround Ambiences of the Rain Forest, and multiple other locations that I'd later use in the final mix (I'm also the post editor/mixer for these films.
The budget precludes the production from actually ponying up for the cost of a really nice surround config such as Schoeps OCT Surround setup so I'm trying to do one on a shoestring budget that I could absorb the cost on my own.
What have you done to achieve decent quality recordings that you're happy with?
I was thinking of building my own mic tree mount system then buying some reasonably priced mics to populate it.
Any input would be greatly appreciated!
John

Hi all... I've been re-visiting the Halloween series after the new 15-disc Blu Ray set came out recently, and now after watching some of these films for the first time in years (and probably the first since I became a professional filmmaker) I'm struck by the excellence of much of the original production sound.
I see Thomas Causey (mixer) and Joseph Brennan (boom) worked on the first three films of the series and are retired now. Does anyone here know them? Related with them much around the time these films were produced, and can shed some light on their work habits?
I was particularly impressed with a deleted scene from the first Halloween in which Jamie Lee Curtis and P.J. Soles exchange dialogue while looking out a window. Both actresses are facing the window, which means their mouths are just inches away from a flat wall, and the shot (like many in the first Halloween) is very wide to the point where some of the ceiling is visible. Both actresses sound spot on in the pattern of the microphone, and it doesn't appear to be ADR. I imagine radio mics at this time were sketchy at best and probably mostly utilized for complex walk + talks, but it looks like a very difficult scene to boom. Apparently it was a practical location where flying in over a wall wasn't possible either.
If anyone has some stories about this sound team I'd love to read them!

Hey Guys!
Need advice again! I got asked to do a 2-day reality gig that will be a pretty big setup. Here are the specs:
Equipment:
CAMERAS:
Canon 5Ds
Sony FS700s
SOUND:
SD 664
CL6
8x Lectro UCR411a
8x Lectro UM400
8x COS11
2x Senny G3s (backup wireless)
Senny MKH60
4+ Røde Mics
BDS & NP1s
There are 2 main setups that I was concerned about:
SETUP 1:
4 people in 4 different cars driving at undeterminable distances from eachother. 1-2 cameras in each car. Interviews being conducted in each car.
QUESTION: Since I obviously cannot be in 4 places at once, and I don't know where the cars will be in relation to each other (I will be in one of the cars) I don't want to rely on the wireless for the primary sound. My solution: Røde mics on each 5D? I know they are not the best quality audio wise, but I don't see any way around it.
SETUP 2:
4-8 people in a restaurant for a taste testing scenario. Multiple cameras.
I will wire up everyone, but I also wanted to have a boom going for ambience. I won't be able to get it in the shot.
-----
The production wanted all ISOs, which is fine, because I have 12 tracks to work with with the CL6.
In standard reality (in all your guys experience), does post want a 2-mix primarily or ISOs? I am not the most experienced mixing on the fly, so I would prefer ISOs as well. Just wanted to know how the real people do it.
This question may seem dumb, but hey, how do you keep track of 8 people simultaneously?! Keeping consitent levels without auto mix?
Wires. To hide or not to hide? Not having to hide the lavs would speed up the production two-fold, and I wouldn't have to worry about clothing shenanigans. Do most reality productions care if the lav is hidden? Should I just ask if they care?
Power. How long do you think I will be able to run my bag off of 1 IDX NP-L7S (14.8V/71Wh Lithium Ion)? I am powering 8 UCR411s and my SD 664. I will probably be rolling all day, and I have 4 batts to work with.
Any other tips would be greatly appreciated! I have never worked with this many simultaneous tracks before so please let me know the best way to stay on top of everything.
-Ryan

Do you guys have any favorite Altiverb tweaks you do in the dialog mix? I've been working on this feature and use it quite a big to help get the dialog cuts to blend better as well as giving it a better, more cinematic feel within the room.
But I always wonder if there's something I could be doing to help make it even better so I thought I'd ask people smarter than me!
Thanks for any advice you can share!
John

Hi all,
I have landed a job mixing for a tv show and am a bit worried as they tell me there will be no or very little postproduction going into each episode (churning out 5 episodes a week so the editor will have a few days for turnaround)
In my relatively limited experience there is always a fair bit of work that needs to be done on production audio, aside from eqing out hum etc.
My question is to the seasoned mixers of jwsoundgroup is, in general on bigger Tv productions, how does sound post workflow go?
My main concern is noise reduction, which i know is often treated with outboard/ hardware processors like cedar DNS 8 for live boradcast, but how do they deal with it on TV series =/ soaps etc?
Production also want me to use radio mics most of the time and i was wondering if the seasoned pros ever have to deal with cloth russle and acoustic noise at all or can it be 100% mitigated?
I will be mixing direct to cam for the most part, is there any tips or advice you guys could spare?
Really appriciate any help on this..
j

Was wondering if you guys do exercise or do you eat different when you going on a job. Set crafty isn't the most healthy of foods but was wondering if anyone does aerobic or cardio stuff too, espcially for booming because it's so psychically demanding. I wear a back brace when I'm one man banding as well.
Personally I try to run when I can, and doing some ab exercises. I also don't drink soda, coffee, or energy drinks on set. (sometimes I break this for those over nights, ugh)
What does everyone else do?

Experience:
Boom Op on a Dos Equis ad for their "Feast Of The Brave" campaign. Used a Sennheiser shotgun mic, boom, and Zoom H4N recorder (June 2011)
Audio Assistant/Boom Op on an indie feature, will be shooting Oct 15-Oct 26 2012
10 years experience as a professional musician, recording and engineering many projects, including this song: http://www.spinner.com/2010/01/16/midnight-masses-there-goes-our-man-free-mp3-of-the-day/
As I don't have much Film/TV-specific experience or my own gear (yet), I am willing to work for free or cheap to build up my reel/resume, get references, and meet people. I am very reliable and hard-working, and I have a lot of knowledge and experience with audio, mic placement, recording, learning to use new interfaces and gear, etc.
I can provide references to the people I've worked with. I'll be available after Nov 18, when I return from a tour with my band. Please get in touch!
Thanks,
Eric
ericerodgers@yahoo.com
347-834-2490

Even when the wires sound well, when the actor looks down and they get much closer to the lav mic, I have yet to find a mixing technique that sounds transparent. I typically bring the level of the lav down but have been reluctant to bring up the level of 'air' from the boom to accomplish what my ears want to hear. I think this would do it, but...something stops me from pushing it far enough.
Maybe just typing this will help get me there.
Any thoughts?

Hey Guys,
Just wondering, for those who are doing a stereo mix of booms/wireless and recording those two tracks, how often are those the tracks that post goes to?
Do they use the stereo mix for the most part unless they need something specific? Or is the stereo mix just a guide for post production (And for IFBs) these days? Thanks!

Hey guys,
I switched from using a SD302 w/ a Zoom H4N to a Zaxcom Nomad. It's been quite a jump, and I love all the things it can do. On a philosophical level, I think I'm still a bit confused about multi-track recording. Hopefully you guys can help and offer some insight.
When using the 302, when I turned the knob, it controlled how much or little volume the recorder would record. I would monitor from my source, since that's what I was ultimately recording. If I needed more bump, I could turn a gain knob and open it up.
I assume that is post-fader recording/monitoring.
By default set up, the Nomad uses post fade, i think. This makes it so that when I'm mixing, moving the fader knobs doesn't actually really effect anything, so i'm generally just mixing using my gain knob.
I have it set up to record isolated tracks for the first 5 channels, but channel 6 is a mono mix of what ever combination i'm using.
I guess I'm just confused with how monitoring on my Nomad is different from recording to my Zoom.
I really hope i'm making sense, and I know it seems simple, but I'm having some problems grasping the whole pre-post fade thing.
Thank you,
-w

Hey guys,
Been having an awesome experience with my Nomad so far...but the time has come for me to do a 3-camera ENG shoot. I will be mixing into 3 Cameras (each with 2 XLR inputs)
Follow my logic for setting this up and please tell me if you would do anything different or have any insight/experience/advice.
I have 4 direct outputs. That's 2 breakaway cables, one to Camera A, and one to Camera B. I can monitor the return on 1/2, and 3/4 with the 5-pin adapter cables I have.
For camera 3, I would get the cable that goes 5-pin to XLR "Y" cable. Then use a typical breakaway cable to go to Camera C.
I don't see anything on the nomad that would allow me to monitor the return on 5/6.
Would it make more sense to use the tape-out for the 3rd camera so that I could monitor it that way?
Is there anything special I need to do in the Nomad's settings for like output settings?
I will be running a Boom and 2 lavs, possibly a 3rd if needed. I would want each camera to have the Boom track isolated, so I would set: Input 1 (L), And then Input 2, 3, 4 ®...which would make each camera receive the boom on track 1, and lavs mixed onto track 2. Does that make sense?